The purpose in Planet Nine: Alter Ego is clear: ONEWE wants to take you to another dimension with their music. Seeing TWICE go from princesses to queens, we can’t help but get “The Feels”. Their musicality might be more refined now, but it still sounds true to their origins. If anyone was ever ashamed to admit they enjoy listening to TWICE, Formula of Love: O+T=<3 can change that. Between synthpop and disco-pop, TWICE found a place to stand their ground confidently the album feels youthful and mature at the same time. You’ll hear ’70s disco and funk in “F.I.L.A (Fall In Love Again)” and “Cruel”. Pop music from the 1980s is an obvious influence on tracks such as the synthpop “Scientist”, “Moonlight” (which reminisces DeBarge), and “Real You”. In terms of songwriting, “Last Waltz” is the most fun and experimental song on the album. “Cactus” shows they can bear a melodramatic ballad. Along with More & More (2020) and Eyes Wide Open (2020), Formula of Love : O+T=<3 uplifts the “pop” in TWICE’s pop star status. Songs like “Espresso” and “1, 2, 3” would’ve fit any previous TWICE album, but they benefit from the maturity TWICE now emanates. Many people doubted TWICE could keep appealing to fans as they grow older, arguing that they would lose their innocent glow of young adulthood.īut six years later, TWICE are still around and cooler than ever. They remained the archetype of a “cute” girl group for many years. The group began their stardom with music that is as bubblegum as it can get. TWICE – Formula of Love: O+T=<3 įor the last two years, TWICE’s releases have seemed like a lecture on career transition. Rather, they serve as little more than a one-note percussive tool, which is disappointing considering how many other metal bands ensure that even their harshest vocals are intriguing melodically and show some degree of variation from composition to composition.5. They fit fine alongside the music, and they’re definitely impressive technically, but there’s nothing to cling to, if that makes sense. Sadly, the same can’t be said for the aforementioned screams, as they always sound identical and bland.
Thankfully, Rysakov, Dubrovskiy, and Popov add enough tricky counterpoints and spiraling motifs on top of those foundations to give each track sufficient instrumental variety and weight (if only just barely). Of course, “Night Shine” closes the LP with static drones that stand as perhaps the most subdued yet arresting passage of the affair.Īround and within those sections, the group serves up your usual blend of guttural dismay (effectively backed by cleaner singing in a few places) and thrashing riffs and rhythms. Later, “Shores” veers in a matching direction-but with a bit more sophistication-whereas “Dorian” offers a sharper and denser calm halfway in. For example, follow-up “Beast” uses echoey guitar arpeggios, dismayed syncopation, and chilling ambiance to yield cosmic catharsis amidst the hecticness. Fortunately, Nug continues to craft comparably affective passages as the album progresses. It’s a testament to how some of the most haunting and lingering music is often quite simple and impressionistic. Nug (Photo provided by Willowtip Records)Īs its name suggests, “The Birth” introduces the journey as a concisely traumatic piece: mournfully cautionary tones swell beneath programmed upswings of panic and tension, symbolizing the sort of inner conflict and cognitive dissonance that would arise from extreme mental turmoil.
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